Posted 23 January 2011 - 04:56 PM
Marga, the two twelve year olds accompanying me enjoyed the subway concert too! Very charming.
From up in the top ring where we sat, Prodigal Son had everyone riveted, even though I do not think is one of those Balanchine choreographies that has particular charm seen from above... Looking down tends to deflate the leaps.
However, it seemed sometimes that there were some moments in the Siren's movement that seemed quirky when in the past they have read as seductive/femme fatale... could be something was lost by the transmission to the top ring.
I was looking forward to seeing Bouder, who is famous for playing to the seats we were in and for the most part she delivered. Sometimes the extra energy to the arms came across overworked rather than reaching out as it were, but what a treat that manege was! Both Bouder & Veyette made me feel like Stars & Stripes is an American answer to the famous Corsaire pas de deux.
Stars and Stripes... there are some ballets that just seem to have certain dancers' names written all over them, even decades after those dancers have retired. I felt watching ABT's mounting of Sylvia that Fonteyn's spirit hung all through the choreography. Perhaps Farrells dancing shadows everyone else in Mozartiana, (though I remember being enchanted by Ananiashvili in the same piece last year... I think that perhaps the ballerina's grace is too subtle for the top ring, though the young dancers and the structure sings through just fine.) But Stars and Stripes... I just see Jacques d'Amboise written all over this ballet. Anyone here remember seeing him in the role?
I was disappointed by the vodka toast... I had thought someone was gong to lead it. Did perhaps Peter Martins lead some such thing in a more private patron setting...
Also, some kind angel ought to underwrite a better sound system for the historical talks given in the forth ring... the little speaker was so bassy it was a drain on what was being said, taking some dedication on the part of the listeners.
Mozartiana... I must find some time to read the notes... it seemed like Balanchine commenting on ballet's Italian renaissance roots as Tchaikovsky was commenting on Mozart? Though a beautiful work, not something I would have brought my young guests to normally. They were fascinated by Peter Martin's class. Do we have a thread on Balanchine style here? (Apologies... short of time tonight... will return for a deeper look)
(By the way, should I delete my dining questions from this thread? Or are they helpful for other patrons?)